FIBER ARTS TODAY to

Val Frieling Krohn

What do you think when you hear the word tapt.'Stry? For many the word merely evokes the image of a simple, Aat wall decoration whose sole function is to fill an empty space on an otherwise barren wall. This view, however, is quite inappropriate given the dramatic and explosive developments in the field of arts at the international, national and local levels. As the major revived art form of the twentieth century, the fiber arts have experienced a significant break with the past. This break was heralded some 35 years ago with the French artist Jean Lurcat, who was the first to use weavers to execute elaborate two-dimensional designs in wool. Soon other artists, including NA l'UA 0 KE ALl'l 1FLOW ERS OF THE CHJEf E.Jiz.-i beth A lo.ana Jean Arp, Alexander Calder and Hans Hartung, were following in his footsteps. They also used tapes­ Ages the art UKIS perfcclL'li to prouide 11ot generation that was not just satisfied tries as a means to enlarge their 011/y mag111fice11t beauty. but also iLrm11tlr with two-dimensional work and abstract works to wall-size and protectio11 agai11st dra11g//ts. Now, traditional techniques, a generation dimensions. contemporary tapt'SITIL'S, dcsig11cd by tlie that did not want to just execute the With this revival of , greatest artists of our time, are rn/11eri for designs of other artists in fiber. architects and designers have at­ tire at.'Stf1etic uxm11tlr tl"'Y brmg to tire Instead, members of the new fiber tempted to adorn expansive walls e11v1ro11111e11t dt'S1g11ed with cold materials movement began to experiment with -so characteristic of modern archi­ s11clr as clmm1c, glass and sled. Jn this their own designs- many of them tecture-with the warmth of impersonal age, tapt'Stry is 111deed a uxm11 creating three-dimensional environ­ . The reassuring touch personal art, appeal mg to q11r SL'llSC of mental fiber pieces. that weavings add to glass, metal to11clr as well as sight." 1 When we observe the work of and concrete buildings is certainly contemporary weavers, we see that one of the most appreciated qualities But this movement was only a be­ they no longer express their creative of wall tapestries today. As ginning and soon a new generation of talents only by . Their art, Madelaine Jarry states: fiber artists pushed fonvard, a instead, incorporates an abundance of new materials, choices of textures "Tapestries are very practical. They alimys have bt·c11. D11ri11g the Middle

20 and varied subjects, and just as many The most traditional ones, in respect was initiated by Hester Robinson, techniques. Non-woven interlace­ to technique, come from . now professor emeritus of the art ments, such as or crocheting, A large variety of technical ap­ department, University of Hawaii once considered only appropriate for proaches is normally expressed by at Manoa, where she has taught for the construction of utilitarian clothing Swiss fiberists, while German artists almost three decades. Many of her items, have combined to become part quite often display ambitious fiber students still create one-of-a-kind of the new direction in the creative pieces in large and small scale. These wall hangings with natural materials fiber arts. countries are considered the major found in Hawaii. The second aspect It should be noted that the initial contributors to the international in which the Hawaii weavers differ impulses for three-dimensional and fiber scene. from those in other parts of the world environmental work in fiber came is that their designs for fiber works, from artists in Eastern Europe. Fiber Artists at the more often than not, are inspired by Magdalena Abakanowicz from Poland National Level local motifs. and Jagoda Buie from Yugoslavia American fiber artists are involved A pioneer in the fiber arts in were the forerunners of this particular in a constant search for new avenues the Islands is jean Williams, a student development. It exemplifies one of to express their creative intelligence of Hester's. She is the most experi­ the rare cases in modern art in which in a variety of media and mental of Hawaii's contemporary an important concept and significant approaches. In fact, American weavers and incorporates a variety innovation started in Eastern Europe fiberists may be classified as the of techniques and materials into her and spread from there to the rest most diversified in the contemporary work. Her expertise lies in the use of the world.l fiber scene. For many years, impor­ of the backstrap , which gives tant contributors were-and, still her the flexibility she wants when The Lausanne Biennial are-individuals such as Jack Lenor searching for new ways of expression The prestigious and exciting Larsen, Boris Kroll, Dorothy Liebes, in fiber. Such a loom also gives her exhibition in the fiber arts field since Else Regensteiner, , the opportunity to integrate natural 1962 is the International Biennial of and . materials with man-made to a Tapestry. This exhibition is organized All of them were individual artists high level of aesthetic satisfaction. by the International Centre of Ancient first, with total dedication to the Since she rarely repeats her design and Modern Tapestry in Lausanne, field, and later went into such concept, each of her fiber pieces Switzerland. Every two years the specialized areas of the fiber arts is unique. exhibition's prime objective is "to take as education or the . Another of Hester Robinson's soundings of the various currents of They, and others, have opened doors students is Reiko Brandon. Colors textile art as a whole."3 for a new generation of equally­ and forms are the most important The Biennial includes traditional determined fiberists, such as weavers, components in her weavings, and a as well as avant-garde ­ stitchers, quilters, batikers, and mastery of both is documented in her both being directions in the contem­ even papermakers. work. Her philosophy of weaving porary fiber scene. Over the years evolves from techniques as well as Hawaii's Weavers the Biennial has attracted the finest from working with the materials international fiber artists and Although not a traditional center themselves. In a number of her craftsmen, and some of the most for tapestry, Hawaii, today, has a fine works, rich textures and colors influential trends in fiber art core of fiber artists. Hawaii's weavers go through a most successful have originated here. do not generally intend to compete gradation process. From what one can see at the with the national or international A few of Hawaii's weavers create exhibition every two years, it is quite fiber artists. Instead, they present logical design plans and follow strict evident that particular countries excel a quite different, often Polynesian­ mathematical concepts in their work. in specific approaches to the field. influenced alternative to the fiber Numbers and mathematical formulas Generally, fiberists from America field. Generally, their work differs may very easily influence a weaver's appear to be the most experimental from that of weavers on the U.S. work, particularly since the loom in their work, while those from Japan mainland or other countries in has the potential for being set up exhibit a sound sculptural approach to two respects. in arithmetical patterns. For example, fiber. The most monumental fiber First, local weavers make extensive Shore Brenner's favorite method pieces come from the Polish artists. use of natural fibers from tropical of manipulating threads, combined plants found in their immediate with natural materials, is through surroundings by incorporating them into their works. This direction

21 the Fibonacci Progression, a series in Anderson has split hers between these designs became more detailed which each number is the sum of the commission work and the weaving and sophisticated. A new source of preceding two numbers (1, 1, 2, 3, 5, gallery/fiber arts supply shop she inspiration was nature: lush tropical 8, etc.). Jay Wilson bases most of his operates jointly with Frances Olsen. vegetation was, and still is, one of wool-on-linen tapestries successfully Anderson is especially noted for the favorite motifs captured in the on the geometrical parallelogram. her ability to translate traditional Hawaiian . One weaving, approximately four Hawaiian motifs into fiber and for Today, a true Hawaiian quilt by seven-and-a-half feet may include integrating natural materials into her is quite different from a traditional anywhere from 264 to 484 parallelo­ weavings-as illustrated below. American example. Most popular grams. His fiber compositions are American are based on abstracted from nature, and colors Hawaiian Quilts geometric repeats such as squares, and designs are fit to this particular What could the first all-gas jet triangles or hexagons, and are more geometric shape. In his work he has chandelier in Iolani Palace have in correctly termed "" quilts. been inspired by beautiful abstract common with Lincoln's Platform? The typical Hawaiian quilt, on the Navajo tapestries, yet most of his Nothing, except that both were other hand, is an "applique" quilt themes are strictly Hawaiian inspirations for quilts. Many times and resembles, in construction and in content. in the past, quilts have documented design, the non-geometric patterns Only rarely do you find an out­ significant occurrences such as social, once familiar in Pennsylvania. In an standing practicing artist who is also a economic, or political events. But applique quilt one pattern-cut fabric successful business person even more significant, quilts are is placed over another for design. This and a promoter of her own and other kaleidoscopic stories of people's lives, technique, once considered a flagrant artists' creations. Hawaii's weavers expressions of love, and unspoken waste of precious cloth by the early are very fortunate to have such words. Once a child of necessity, settlers, was welcomed as a new way a person in their midst who, with the quilt has, over the years, won a to embellish quilts when inexpensive flair and dedication, contributes position of permanence and respect doth became available. immensely lo the growth of the fiber in the field of folk art. Kapa tau is the name given to arts: Ruthadell Anderson. The art of , originally a Hawaiian quilt with an overall a Far Eastern craft, has evolved to design appliqued in one piece. If the WEB ANDERSON PHOTO become an American tradition; and, quilt has a border, lei, and a central was introduced to Hawaii over 150 medallion, piko, it is referred to as years ago. The Hawaiian women of a kapa 'apana. 4 Over the years, the the 1820s learned quilting from their stitching design for the background New England missionary sisters. At of an applique quilt also changed that time the native fabric was tapa, from missionary-taught freeform or kapa- a felted and pounded cloth patterns to "echo," or "contour'' made from the inner bark of the quilting, which follows the outline paper mulberry, mmkc- which was of the applique design at a distance not suitable for quilting. With the of about one-half inch. introduction of woven cloth to the For a Hawaiian woman, her quilt Islands, however, Hawaii's women is like a tapestry. In her multitude quickly mastered the art. Ka Ilana kapa of designs she finds expression of kmki, the making of a quilt, started individual artistic abilities filled with as a pastime and slowly developed special memories and dreams. At into a Hawaiian folk art. Recognized once a practical and expressive form Natural fibers combinl>d with weaving as a regional craft with distinct local of folk art, quiltmaking remains alive and wrapping Ruthadcll AndL•rson themes, these quilts featured bold as a part of Hawaii's continuous designs and brilliant colors re­ cultural development. sembling the feather capes of former A pioneer of weaving in Hawaii, Paris in Paradise Anderson has received numerous kings and chiefs, or the familiar federal, state and major private decorative and geometric patterns Another aspect of the fiber arts commissions in the past. While many once used on kapa. As time went on, in Hawaii is reflected in the textile professional weavers divide their time arts. Hawaii has established itself as between creative work and teaching, a unique contributor to the inter­ national fashion field because of unusual expressions in textile and

22 fashion design. Aloha attire-colorful clothes. The tourist look, generally, designs and dress patterns. Striking, shirts for men and equally colorful consists of large florals, more obvious classic Asian fabric designs can be dresses, mu'umu'u, for women-is prints and bright colors. The "his­ found on Orient-influenced clothes recognized the world over. and-hers" matching aloha fashion such as the Japanese kimono, the The first impact Hawaii's fashion is a favorite souvenir for visitors Chinese clreongsam, the Korean pahgi, industry ever had internationally to Hawaii. and the Indian sari. dates back about 50 years. In 1932, Local-market designs, though, Particularly in the 1980s, the bright and colorful prints sewn into are more subtle and subdued. Hawaiian look is enjoying a nostalgia aloha shirts and 11111'umu'u swept Strongly influenced by European craze that has spread around the the local and mainland markets graphic prints and Oriental feelings, world. Of course, one has to remem­ successfully. In 1951, the non-profit Hawaiian fashions today are not ber that cycles are a big part of the Fashion Guild was organized by strictly bold and floral. Quite obvi­ fashion industry, but just being Hawaii's leading garment producers ously, Hawaii's fashion creators have involved in it is exciting. to promote clothing made in Hawaii been influenced by the many cultural throughout the world. When Hawaii backgrounds enriching the Islands. Conclusion achieved statehood, in 1959, new One of these influences was Internationally, nationally and waves of interest were created for Hawaii's tapa cloth. While the tedious locally, contemporary fiber artists island fashions. job of traditional tapa-making has have created a sensational new image Hawaii's garment firms range fallen out of practice in Hawaii, for themselves in the world of arts from small "mama-san/papa-san" the geometric patterns that once and crafts, representing a wide operations to large computerized adorned this bark doth can now be range of media as well as aesthetic factories. Many island manufacturers found mainly on machine-printed approaches. New materials and new have turned away from the traditional woven cloth. Sadly enough, during techniques are at their disposal, yet aloha shirt and dress and have con­ this shift from handmade to mass­ traditional supplies and methods are centrated on fashions with a more produced cloth, much of the beauty still being exploited to the utmost. universal resort look. The garment of the tapa has been lost. The alolra The fiber arts of the past three industry keeps growing and is on dress itself reflects the influence of a decades have undergone a dramatic its way to making Honolulu the resort particular American clothing style: the change, probably more change than wear capital of the world. Currently mu'umu'u was originally the long in the previous three hundred or the Islands' third-largest export undergarment of the elaborate, formal three thousand years. It can only industry, it takes in $75 million evening dress, l1oloku, which in turn be hoped that this growth remains annually in sales. was inspired by the clothes the New tightly linked with the ongoing quest Hawaii is known for its fashion England missionary women wore for quality, as well as the search for informality. When the alolia shirt when they arrived in Hawaii. a wide range of approaches. Thus it first appeared it "lit up the whole The Chinese and Japanese were, will remain a vital part of the arts of shirt scene" because it allowed men traditionally, textile leaders and our time and of the years to come. to be bright and colorful in bold some of Hawaii's designers and prints. Today, the alolra shirt design fashion creators quite happily and goes in many directions. It can be successfully borrowed from the rich Footnotes cultural background of their nostalgic by recalling the "lei­ 1Madeleine Jarry. World of Tapestry. ukulele-hula maiden-Aloha Tower ancestors. For example, the fashion France: lnspecteur principal du times" in the new "silkies." A design patterns from the Edo period Mobilier National et des Manufactures different effect is produced by the in Japan, 1614-1848, have filtered into Nationales de Tapisseries. "reverse-print" alolra shirt. The shirt popular contemporary Hawaiian io cr Tagcsp1egc/. Berlin, July 21, 1977, p. 5. is made with the wrong side of the fashions. During that period, textile 3Catalogue, Ninth Biennale Internationale fabric to the outside, creating a designers treated their fabrics in de la Tapisserie, p. xx. 4 muted color effect which strongly the same manner as screen painters Napua Stevens. T11e Hawaiia11 Quill. appeals to the local customer. Other treated their works. It is this close Honolulu: Service Printer, 1971, p. 7. aloha shirts, too, are one-of-a-kind relationship between the arts and the crafts in which is being Val Fne/ing Krolm is Assis/an/ Professor, creations or translations of art­ College of Educalio11, UnirJCrsity of Hawaii reflected in some of Hawaii's fabric silkscreened, batiked, or handpainted; a/ Manoa. Ms. Krohn rCCl.'IVCd lier BS rn liome with or without Hawaiian themes. cconom1cs education and MA rn /ex/1/c and These give the wearer the opportunity related arts from Eastcnr Mid11ga11 U111vers1/y. to express an artistic preference in his Siie received her MFA 111 uitavi11g from tire Umvcrsity of Hawaii.

23